Jablonski, Marek (Michael)

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E. Drlíková, ed.: Národní umělec František Jílek [National Artist František Jílek] (Brno, 1987) [incl. list of repertory and discography]


Jiménez, Jerónimo.

See Giménez, Jerónimo.

Jiménez, José.

See Ximénez, José.

Jiménez Mabarak, Carlos

(b Tacuba, 31 Jan 1916; d Mexico City, 21 June 1994).Mexican composer. He graduated in composition from the conservatory in Brussels, also earning a premier prix in piano, and studied in Rome (with Turchi), Mexico City (with Revueltas) and later in Paris (with Leibowitz). The publication of his Allegro romántico (Brussels, 1935) signalled the start of a prolific career. In 1961 he won the coveted Ariel prize for the film score for Deseada (with E. Hernández Moncada), and was thereafter in constant demand in Mexican cinema. He was awarded further prizes for his scores for Veneno para las hadas (1961) and Los recuerdos del porvenir (1969). He was also a key figure in the revival of the Mexican modern dance movement: his Balada del venado y de la luna and El paraíso de los ahogados are considered cornerstones of the repertory. He wrote two operas: Misa de seis (‘Mass at Six o’Clock’) and La güera (‘The Blonde’). These works, together with Bernal Jiménez’s Tata Vasco and Moncayo’s La mulata de Córdoba, are the most characteristic of 20th-century Mexican operas.

Other landmarks in Jiménez Mabarak's career include the first prize in the music competition for the 1968 Mexico City Olympic Games and the National Arts Prize, which he was awarded by the Mexican government in 1994. He taught composition at the National Conservatory (1942–68) and during his later years at the Escuela Nacional de Música.

Jiménez Mabarak’s music underwent an interesting evolution, from an early style full of Spanish reminiscences to a modern language. A pioneer of dodecaphonic technique and electronic music in Mexico, he produced in El paraíso de los ahogados and above all in Misa de seis two of the most advanced Mexican scores of the time. However, Jiménez Mabarak did not wish to separate himself from the wider environment, and his later works are in a more classical style. In his own words, ‘the discipline of a more conventional language allows me the greater possibility of freedom’. La güera, Sala de retratos and all his later works employed a tonal language enriched not only by elements of Mexican folklore but also by complex chromatic textures. (CC1, G. Scarpone)


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